Word: concerto
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Dates: during 1970-1979
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...your head, can you name two or three of the world's greatest bassoon players? Nor can I: the unfortunate bassoon has in recent times been much neglected as a solo instrument. David Sogg's performance of Mozart's B flat major concerto, K. 191, showed that this neglect is unwarranted, while providing a welcome respite for a musical world saturated with concerti for piano or for violin. It is unfortunate that more people did not take advantage of this nearly unique opportunity to hear an excellent bassoonist in a solo context...
...concerto, like much of Mozart's music, was composed quickly and on commission. The composer adhered rigidly to the classical concerto form, and scored his work modestly. But already, at the age of 18, he had mastered the delicate orchestration, the ethereal grace and the inimitable turn of phrase that one associates with his later and more famous works. Thus endowed, he turned everything he touched to gold; even his 'minor' works are illuminated with his genius...
...benefitted from luminous solo passages by the flute and clarinet and conjured a sensuous picture of Sleeping Beauty; the plaintive and delicate waltz Ravel wrote for Beauty and the Beast received a skillful treatment from the upper woodwinds and contrabassoon. But dynamic imbalances proved frustrating here as in the concerto. Too often the less important lines were simply not sufficiently subordinated; exquisitely played solo passages in the woodwinds in 'Laideronetter,' and for the violin and viola in 'Le jardin ferrique,' were scarcely audible...
Wednesday, November 1: Concert: Jame Bernstein, instructor in the music department begins a three-part series on the concerto from the Baroque period to the 20th century, with an emphasis on listening skills. The first session will be devoted to the concer to grosso, with works by Vivaldi and Bach. Cohen 15, 7:30-9:30. Fee $5/session, $15/series. Call...
...past decade composing a series of works based on various Alice adventures. When several new orchestral works were commissioned for the U.S. Bicentennial, Del Tredici was ready-with the imaginary Alice, not Betsy Ross, as his muse. His creation, Final Alice, billed by the composer as both a "grand concerto for voice and orchestra" and an "opera written in concert form," has already thrilled audiences in more than half a dozen U.S. cities. Last week at New York City's Carnegie Hall, the Philadelphia Orchestra showed off Alice as a fantastical and captivating musical Wonderland, a patchwork of warm...